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RəX Regent (349 KP) rated Bad Boys II (2003) in Movies
Feb 25, 2019
What ya gonna do
this time?
Contains spoilers, click to show
Whilst the first outing of the Bad Boys shocked me by how good it actually was, this one left me a little disappointed. I was hardly expecting an Oscar winning deal here, as this was always going to be a Michael Bay adrenalin rush, but for a film with a two and a half hour running time, the adrenalin came in too short a bursts.
Bad Boys was Bay's first film and was but a taster of his over the top film making, which first arrives in The Rock a year afterwards, but this made eight years later was obviously going to take this to the next level, if not several levels further than that. But to me, it didn't. Granted, the action was thrilling, outrageous and very enjoyable, but the character development was barely visible. They bicker, Lawrence moaned a lot and Smith was cool and likable but there was just a shell of what there should have been. The entire story, including what's left of their character dynamics are only present to set up the next great action sequence.
Then, the was the taste issue. The crux of the plot as it developed was that the drug dealing villains where using corpses to smuggle drugs, and this was used to "Comic Effect" in two major set-pieces. Though in the first, a car chase, it was black comedy as bodies came thick and fast from the back of a van to be run over by the pursuing cars, the second was pushing the boundaries in a to a more disturbing area.
A criticism levied at Michael Bay by British critic Mark Kermode has been that he is a filmmaker with "pornographic sensibilities". Not just in the literal sense, but in the way that he views everything from cars, women and explosions for example. But this was no more clearly re- enforced than in a scene about 90 minutes in, when our two 'bad boys' are searching a morgue and after pulling back the sheets on fat white guys, they reveal a large breasted young woman, who is refer to as "The Bimbo" if my memory serves. It's worrying because I don't know whether this was being played for laughs or was supposed to be a titillating shot of a well endowed woman? Is it right to show a dead woman, who looks to have been strangled to death and referred to a bimbo in a mainstream 15 certificated movie?
I don't want to sound like a prude but the tone of this and pretty much every scene with the bodies being used, seemed to be in plain Bad, BAD taste and though this humour can play well in the right genre of movie, this just simply wasn't the film to do it in, in my opinion. But, that criticism aside, my main issues are the pacing. It was just too hollow to sustain its running time and my mind was beginning to wander from time to time between the spectacular action and the few moments of decent comedy.
It just didn't have the magic of the 90′s actioner, a genre which had faded considerably by the early 2000′s, and without offering anything new besides improved action, which was worth the ticket or DVD price in its own right, or even retaining the original character of the original, this was a sequel failed to hold its own.
Bad Boys was Bay's first film and was but a taster of his over the top film making, which first arrives in The Rock a year afterwards, but this made eight years later was obviously going to take this to the next level, if not several levels further than that. But to me, it didn't. Granted, the action was thrilling, outrageous and very enjoyable, but the character development was barely visible. They bicker, Lawrence moaned a lot and Smith was cool and likable but there was just a shell of what there should have been. The entire story, including what's left of their character dynamics are only present to set up the next great action sequence.
Then, the was the taste issue. The crux of the plot as it developed was that the drug dealing villains where using corpses to smuggle drugs, and this was used to "Comic Effect" in two major set-pieces. Though in the first, a car chase, it was black comedy as bodies came thick and fast from the back of a van to be run over by the pursuing cars, the second was pushing the boundaries in a to a more disturbing area.
A criticism levied at Michael Bay by British critic Mark Kermode has been that he is a filmmaker with "pornographic sensibilities". Not just in the literal sense, but in the way that he views everything from cars, women and explosions for example. But this was no more clearly re- enforced than in a scene about 90 minutes in, when our two 'bad boys' are searching a morgue and after pulling back the sheets on fat white guys, they reveal a large breasted young woman, who is refer to as "The Bimbo" if my memory serves. It's worrying because I don't know whether this was being played for laughs or was supposed to be a titillating shot of a well endowed woman? Is it right to show a dead woman, who looks to have been strangled to death and referred to a bimbo in a mainstream 15 certificated movie?
I don't want to sound like a prude but the tone of this and pretty much every scene with the bodies being used, seemed to be in plain Bad, BAD taste and though this humour can play well in the right genre of movie, this just simply wasn't the film to do it in, in my opinion. But, that criticism aside, my main issues are the pacing. It was just too hollow to sustain its running time and my mind was beginning to wander from time to time between the spectacular action and the few moments of decent comedy.
It just didn't have the magic of the 90′s actioner, a genre which had faded considerably by the early 2000′s, and without offering anything new besides improved action, which was worth the ticket or DVD price in its own right, or even retaining the original character of the original, this was a sequel failed to hold its own.
Movie Metropolis (309 KP) rated Transformers Revenge of the Fallen (2009) in Movies
Jun 11, 2019
The good, the bad, and the down right ugly return in the sequel to Michael Bay’s 2007 summer blockbuster, Transformers. Revenge of the Fallen picks up 2 years after the events of the first film and really shows why Michael Bay was again the perfect choice to helm this franchise. Speculation about how long the film was going to be has finally been answered. 2 and a half hours for the uninitiated would seem a terrifying prospect as characters are introduced from all corners; but for fans of the bots, it’s a thrill ride from the very start, right up until the end credits role. Shia Le Beouf and Megan Foxx return as Sam Witwicky and love interest Mikeala in a sequel that’s as loud and obnoxious as it is long. As with the first film, the story is a little thin on the ground, but thankfully there is enough here to satisfy even the hardest to please. The Decepticons (the bad guys) are mobilizing once again to take control of Earth, while the Autobots (the good guys) working together with human intelligence try to destroy their feared rivals. It’s based on plastic toy figures, so you can’t expect much more.
Special effects are again outstanding with a finish on them that not even the first movie could hold a candle to, the transformers once more look 100% realistic in their presence, though with a $200m budget, outstanding was the least to be expected. Regrettably, the action sequences sometimes can look messy, with a mash of metal making it hard to distinguish who is attacking who or who has fallen; one heart wrenching scene in particular makes this point even more evident. Acting from all corners is sublime, Le Beouf certainly knows how to do that cocky teenager and Megan Foxx provides a nice bit of lustre to place on the horizon. But, by far the standout is Julie White as Mrs. Witwicky, her performance in the first film was brilliant, but she has exceeded that by a mile in this instalment; utterly hilarious is the only way to describe her acting. Of the robotic kind, Peter Cullen does an excellent job as the voice of Autobot leader Optimus Prime, with the same gravely texture that made him such a hit for the cartoon series in the first place. Hugo Weaving also returns as the voice of arch nemesis Megatron. Bay packs on the slapstick in this sequel, perhaps going a little too far with the humour; after all, it isn’t supposed to be an outright comedy, though some of the funny touches are out-and-out hilarious. The finale is, as with its predecessor a little short and to the point, though many would say it was ‘succinct’, but any longer and the film would have started to drag, Bay obviously learning his lesson from the mess that was Pearl Harbour. Overall then, Transformers: Revenge of the Fallen is an excellent sequel to what promises to be an exciting future for the franchise. Whilst it may not match its predecessor in terms of story and plot, it is a must watch for all action cravers.
https://moviemetropolis.net/2010/10/18/transformers-revenge-of-the-fallen-2009/
Special effects are again outstanding with a finish on them that not even the first movie could hold a candle to, the transformers once more look 100% realistic in their presence, though with a $200m budget, outstanding was the least to be expected. Regrettably, the action sequences sometimes can look messy, with a mash of metal making it hard to distinguish who is attacking who or who has fallen; one heart wrenching scene in particular makes this point even more evident. Acting from all corners is sublime, Le Beouf certainly knows how to do that cocky teenager and Megan Foxx provides a nice bit of lustre to place on the horizon. But, by far the standout is Julie White as Mrs. Witwicky, her performance in the first film was brilliant, but she has exceeded that by a mile in this instalment; utterly hilarious is the only way to describe her acting. Of the robotic kind, Peter Cullen does an excellent job as the voice of Autobot leader Optimus Prime, with the same gravely texture that made him such a hit for the cartoon series in the first place. Hugo Weaving also returns as the voice of arch nemesis Megatron. Bay packs on the slapstick in this sequel, perhaps going a little too far with the humour; after all, it isn’t supposed to be an outright comedy, though some of the funny touches are out-and-out hilarious. The finale is, as with its predecessor a little short and to the point, though many would say it was ‘succinct’, but any longer and the film would have started to drag, Bay obviously learning his lesson from the mess that was Pearl Harbour. Overall then, Transformers: Revenge of the Fallen is an excellent sequel to what promises to be an exciting future for the franchise. Whilst it may not match its predecessor in terms of story and plot, it is a must watch for all action cravers.
https://moviemetropolis.net/2010/10/18/transformers-revenge-of-the-fallen-2009/
Gareth von Kallenbach (971 KP) rated Underworld: Evolution (2006) in Movies
Aug 14, 2019
The battle between the Death Dealers (Vampires) and Lychans (Werewolves) continues in Underworld Evolution, the sequel to the smash “Underworld” that detailed the battles between the two horror mainstays. The sequel picks up shortly after the film and deals with Selene (Kate Beckinsale), and Michael (Scott Speedman), on the run after Selene was forced to turn on the Vampires following events at the conclusion of the previous film.
Of course being a Vampire traveling with a Vampire/Werewolves hybrid is not an easy thing, especially when Selene can only move around at night and must seek refuge from daylight. Through a series of flashbacks, we learn that the war between Lychans and Death Dealers began centuries ago, when two brothers each heading one faction of the conflict were drawn to a decisive battle. The losing Lychan brother, William, is imprisoned for all ages in a specially designed tomb, thanks to his brother Marcus’s insistence that he would only help capture him, if he were to remain alive.
Since William is capable of utter destruction, his location is a closely guarded secret for centuries that is until Marcus re-emerges and seeks to locate Selene. Marcus upon emerging from hibernation learns what Selene has done, and is convinced she has betrayed her own kind, unaware of the real reasons behind her actions. In short order, Marcus, Selene, and Michael play a deadly game of cat and mouse with each trying to unlock the mystery of Williams’s location. Marcus wants to exploit the power of William while Selene to protect the world from the evil that William and his followers would represent.
Along the way, there are plenty of battles, odd characters, and romance to keep most viewers entertained, which leads up to an action packed finale, that for me was the high point of the film. The plot has its share of holes but also deals with a series of complexities as it attempts to take the topics of bloodlines, centuries of history, and mythos in a tight 100 minute package. The two leads work well with one another though their do not have the most dynamic chemistry ever seen on screen. For this type of film, it does work as one does not come to a monster film expecting great acting, story, or characterization.
What Underworld Evolution has going for it, are good effects, a few good action moments and a plot, that at times tricky for the casual viewer to follow, more than surpasses the average storyline for the genre. The tight pacing of the film by Director Len Wiseman keeps the film moving a clip that was much brisker than the original and allowed the film to get to the highlights quickly and not be weighed down by fluff.
The finale as I mentioned was the highlight for me, as the buildup to that point was at times, slow, and had me wishing for more. That being said, the final 15 minutes of the film more than saved it, and got more than a few cheers from the audience at my press screening.
While it would be easy to find faults with the film, the important thing to remember is the spirit and intention of the film. They were not out to make classic cinema, they were out to make a fun and entertaining monster film, blemishes and all. In that, Underworld Evolution succeeds.
Of course being a Vampire traveling with a Vampire/Werewolves hybrid is not an easy thing, especially when Selene can only move around at night and must seek refuge from daylight. Through a series of flashbacks, we learn that the war between Lychans and Death Dealers began centuries ago, when two brothers each heading one faction of the conflict were drawn to a decisive battle. The losing Lychan brother, William, is imprisoned for all ages in a specially designed tomb, thanks to his brother Marcus’s insistence that he would only help capture him, if he were to remain alive.
Since William is capable of utter destruction, his location is a closely guarded secret for centuries that is until Marcus re-emerges and seeks to locate Selene. Marcus upon emerging from hibernation learns what Selene has done, and is convinced she has betrayed her own kind, unaware of the real reasons behind her actions. In short order, Marcus, Selene, and Michael play a deadly game of cat and mouse with each trying to unlock the mystery of Williams’s location. Marcus wants to exploit the power of William while Selene to protect the world from the evil that William and his followers would represent.
Along the way, there are plenty of battles, odd characters, and romance to keep most viewers entertained, which leads up to an action packed finale, that for me was the high point of the film. The plot has its share of holes but also deals with a series of complexities as it attempts to take the topics of bloodlines, centuries of history, and mythos in a tight 100 minute package. The two leads work well with one another though their do not have the most dynamic chemistry ever seen on screen. For this type of film, it does work as one does not come to a monster film expecting great acting, story, or characterization.
What Underworld Evolution has going for it, are good effects, a few good action moments and a plot, that at times tricky for the casual viewer to follow, more than surpasses the average storyline for the genre. The tight pacing of the film by Director Len Wiseman keeps the film moving a clip that was much brisker than the original and allowed the film to get to the highlights quickly and not be weighed down by fluff.
The finale as I mentioned was the highlight for me, as the buildup to that point was at times, slow, and had me wishing for more. That being said, the final 15 minutes of the film more than saved it, and got more than a few cheers from the audience at my press screening.
While it would be easy to find faults with the film, the important thing to remember is the spirit and intention of the film. They were not out to make classic cinema, they were out to make a fun and entertaining monster film, blemishes and all. In that, Underworld Evolution succeeds.
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Rachel King (13 KP) rated Sixteen Brides in Books
Feb 11, 2019
I had a hard time getting into this book as the number of characters created chaos in the plot and point-of-view for the first few chapters. I could not keep track of who I was supposed to be following, and I felt like I needed a chart to keep them all straight in my head as I read. I kept wanting to ask the author, "Are 16 women really necessary?"
Luckily, that number was cut by more than half when the train stops in Plum Grove, Nebraska, leaving behind the important characters and sending the expendible ones away - how convenient. This is where I feel that the plot actually begins, as the women carve out lives for themselves, even as they experience character growth and rejuvenation. The men are also introduced at this point, and I found them to be more imaginative and unique than the females in the book. The dynamics between Michael Ransom and Lucas Gray, cousins, are very interesting, as Whitson only reveals a bit at a time about their relationship with each other. I wished that more had been written about Jeb Cooper, as the paradox that he lives daily was very entertaining to read.
The background information and historical details were interesting, as I knew little before reading this book about frontier towns and the founding and running of a homestead. I find it ironic that although all of the women are strongly opposed to being hitched to a man again, given that they all claim to be widows, romance seems to be necessary to each of their character developments. The romance was the most predictable aspect of the novel, with almost every woman gravitating noticeably to a man.
The idea that war widows were shipped out to the frontier as prospective brides made for excellent novel potential, but I felt the idea fell a bit short, as the man responsible in the book for these sixteen women was not followed in point-of-view passed his departure from Plum Grove. Neither was much said about the other women that went on to Cayote with him. I would have liked to be a fly on the wall at those women's proposals from strangers and hear their rationale behind making such a choice to be delivered and bid on like so many heads of cattle.
Luckily, that number was cut by more than half when the train stops in Plum Grove, Nebraska, leaving behind the important characters and sending the expendible ones away - how convenient. This is where I feel that the plot actually begins, as the women carve out lives for themselves, even as they experience character growth and rejuvenation. The men are also introduced at this point, and I found them to be more imaginative and unique than the females in the book. The dynamics between Michael Ransom and Lucas Gray, cousins, are very interesting, as Whitson only reveals a bit at a time about their relationship with each other. I wished that more had been written about Jeb Cooper, as the paradox that he lives daily was very entertaining to read.
The background information and historical details were interesting, as I knew little before reading this book about frontier towns and the founding and running of a homestead. I find it ironic that although all of the women are strongly opposed to being hitched to a man again, given that they all claim to be widows, romance seems to be necessary to each of their character developments. The romance was the most predictable aspect of the novel, with almost every woman gravitating noticeably to a man.
The idea that war widows were shipped out to the frontier as prospective brides made for excellent novel potential, but I felt the idea fell a bit short, as the man responsible in the book for these sixteen women was not followed in point-of-view passed his departure from Plum Grove. Neither was much said about the other women that went on to Cayote with him. I would have liked to be a fly on the wall at those women's proposals from strangers and hear their rationale behind making such a choice to be delivered and bid on like so many heads of cattle.
JT (287 KP) rated Blood Out (2011) in Movies
Mar 10, 2020
I'm not quite sure what my thinking was behind watching this, I mean did I for one second think it was going to be any good with a cast list that included Luke Goss and Vinnie Jones.
I should have turned off within the first few minutes, but stuck it out till the bitter end. It was painful all the way through, Goss who has had some mainstream success with his turns in Blade II and Hell Boy II, looked like he hadn’t bothered to read the script.
Tamar Hassan will always be cast as the hard man, and this time it was Vinnie Jones playing the supporting nutter role. As for Val Kilmer and 50 Cent, they hardly make an appearance in the film, popping up on a few occasions and offering next to nothing.
So to the plot then, in short, Goss plays Michael Savion a hard nosed cop whose gang banging brother is brutally murdered. In an attempt to find the culprit and bring them to justice he goes deep undercover to get close to the killers.
Along the way Goss discovers that his brother’s pregnant fiancée is also involved and looks to try and get her out before its too late, while at the same time trying not to step on the toes of the FEDs who have their own mole in deep cover.
Did I for one second think it was going to be any good with a cast list that included Luke Goss and Vinnie Jones?
Goss is always going to be cast as an action B-movie star, and in no way is he going to be offered too many bigger roles. Why? Well he just isn’t good enough, simple as that.
The action set pieces are poor, the ending car chase and spectacular crash which sees just about everyone walk away without a scratch is hardly surprising of a film that has no believability whatsoever.
If Blood Out is supposed to depict a narrative of the street gang culture it does it poorly, the acting is shocking and the script seems like it was written by a two-year old.
This is Jason Hewitt’s début feature, and he is going to have to work very hard to redeem himself.
I should have turned off within the first few minutes, but stuck it out till the bitter end. It was painful all the way through, Goss who has had some mainstream success with his turns in Blade II and Hell Boy II, looked like he hadn’t bothered to read the script.
Tamar Hassan will always be cast as the hard man, and this time it was Vinnie Jones playing the supporting nutter role. As for Val Kilmer and 50 Cent, they hardly make an appearance in the film, popping up on a few occasions and offering next to nothing.
So to the plot then, in short, Goss plays Michael Savion a hard nosed cop whose gang banging brother is brutally murdered. In an attempt to find the culprit and bring them to justice he goes deep undercover to get close to the killers.
Along the way Goss discovers that his brother’s pregnant fiancée is also involved and looks to try and get her out before its too late, while at the same time trying not to step on the toes of the FEDs who have their own mole in deep cover.
Did I for one second think it was going to be any good with a cast list that included Luke Goss and Vinnie Jones?
Goss is always going to be cast as an action B-movie star, and in no way is he going to be offered too many bigger roles. Why? Well he just isn’t good enough, simple as that.
The action set pieces are poor, the ending car chase and spectacular crash which sees just about everyone walk away without a scratch is hardly surprising of a film that has no believability whatsoever.
If Blood Out is supposed to depict a narrative of the street gang culture it does it poorly, the acting is shocking and the script seems like it was written by a two-year old.
This is Jason Hewitt’s début feature, and he is going to have to work very hard to redeem himself.
JT (287 KP) rated Haywire (2012) in Movies
Mar 10, 2020
With all the acting talent that was on offer in this film how could Soderbergh give us such an overrated pile of rubbish and waste said talent in an instant. Thank the lord I didn’t purchase this on Blu-ray as I was originally intending to; otherwise it would have been in the box and back to the shop the following day.
There is nothing wrong with casting a female in the lead role for an action film, it worked for Angelina Jolie in Tomb Raider, Wanted and Salt. Here though, Gina Carano, who had no acting talent at all and came from a Muay Thai background meant she would need little training in the fight choreography, but lots in the acting department. It was clear then that no one directed her to that department. Sharing the screen with the likes of Fassbender, Douglas, and McGregor she was well out of place.
Mallory Kane (Gina Carano) is a black ops soldier who has been double crossed and is now out for revenge. The plot that is so overdone it is boring with nothing new to offer at all. The film is told from Kane’s point of view to Scott (Michael Angarano), a customer in the diner who she escapes with. Looking at Soderbergh’s back catalogue he’s never really tackled a high octane action flick, and it shows right from the outset. The fight scenes are powerful and well put together but then I’m sure that is down to Carano’s skill and experience as a real life fighter.
Soderbergh tries to make it too slick and too involved. When all we are begging for is a decent car chase or explosion, something to get us off our seats and fist pump the air. This doesn’t happen, even if she does dispatch Fassbender with ease or leaves poor Channing Tatum with a broken arm.
The cast list is admirable, but in their own way they are used sparingly. Douglas’s government agent gets a little screen time, as does the shady contact Antonio Banderas who, like Douglas, is only around for a short space of time. The less said about McGregor the better as quite frankly he was crap! I personally didn’t rate this at all. Soderbergh is a good director but his foray into action was a bit of a let down and a great disappointment.
There is nothing wrong with casting a female in the lead role for an action film, it worked for Angelina Jolie in Tomb Raider, Wanted and Salt. Here though, Gina Carano, who had no acting talent at all and came from a Muay Thai background meant she would need little training in the fight choreography, but lots in the acting department. It was clear then that no one directed her to that department. Sharing the screen with the likes of Fassbender, Douglas, and McGregor she was well out of place.
Mallory Kane (Gina Carano) is a black ops soldier who has been double crossed and is now out for revenge. The plot that is so overdone it is boring with nothing new to offer at all. The film is told from Kane’s point of view to Scott (Michael Angarano), a customer in the diner who she escapes with. Looking at Soderbergh’s back catalogue he’s never really tackled a high octane action flick, and it shows right from the outset. The fight scenes are powerful and well put together but then I’m sure that is down to Carano’s skill and experience as a real life fighter.
Soderbergh tries to make it too slick and too involved. When all we are begging for is a decent car chase or explosion, something to get us off our seats and fist pump the air. This doesn’t happen, even if she does dispatch Fassbender with ease or leaves poor Channing Tatum with a broken arm.
The cast list is admirable, but in their own way they are used sparingly. Douglas’s government agent gets a little screen time, as does the shady contact Antonio Banderas who, like Douglas, is only around for a short space of time. The less said about McGregor the better as quite frankly he was crap! I personally didn’t rate this at all. Soderbergh is a good director but his foray into action was a bit of a let down and a great disappointment.
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BankofMarquis (1832 KP) rated Nobody (2021) in Movies
Apr 27, 2021
A Fun Romp
Any fan of one of the greatest TV series of all-time, BREAKING BAD, or it’s spin-off, BETTER CALL SAUL, know the acting chops that Bob Odenkirk brings to the role of slimey, billboard lawyer Saul Goodman. His fast-talking, fast-thinking con-man is a character for the ages.
So, naturally, one would think “action star”.
But, darn it, if it doesn’t work.
Playing a retired undercover agent with a “certain set of skills”, NOBODY follows “Hutch” Mansell as he gets pulled back into using those skills when he helps a young woman who is being harassed on a bus, only to find out the thugs he went against are connected to the Russian Mob.
You can pretty much fill in the blanks from there. This film does not really tread any new ground…but…gosh…it was a fun watch.
Playing a more comedic hero than Liam Neeson in the TAKEN movies or Keanu Reeves’ JOHN WICK, Odenkirk, nonetheless, pulls off the “action hero” qualities just fine and is a winning enough presence on the screen that he holds your attention.
Christopher Lloyd (yes, Doc Brown from BACK TO THE FUTURE) is along for the ride as Odenkirk’s father, who gets pulled into the action when the Russian Mobsters decide to go after Hutch’s family and he looks like he is having a ball with this role.
The rest of the cast is pretty by-the-book (though a special shoutout needs to go to 1980’s heavy, Michael Ironside, who has a short role in this film - I would have loved to have seen more of him). The head Russian mobster is a bit over-the-top for my tastes, but the action sequences more than make up for all of this.
Credit for that must be given to Director Ilya Naishuller (HARDCORE HENRY) for he gives this film a unique look in the fight scenes while constantly having his tongue placed firmly in his cheek. I’ve seen ALOT of action films, so when a film brings something unique and fun to the screen, I sit up and notice.
And, notice I did. For NOBODY is a fun, popcorn flick. One that will be entertaining for the 92 minutes you watch.
Just don’t expect to see it during Awards season next year.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
So, naturally, one would think “action star”.
But, darn it, if it doesn’t work.
Playing a retired undercover agent with a “certain set of skills”, NOBODY follows “Hutch” Mansell as he gets pulled back into using those skills when he helps a young woman who is being harassed on a bus, only to find out the thugs he went against are connected to the Russian Mob.
You can pretty much fill in the blanks from there. This film does not really tread any new ground…but…gosh…it was a fun watch.
Playing a more comedic hero than Liam Neeson in the TAKEN movies or Keanu Reeves’ JOHN WICK, Odenkirk, nonetheless, pulls off the “action hero” qualities just fine and is a winning enough presence on the screen that he holds your attention.
Christopher Lloyd (yes, Doc Brown from BACK TO THE FUTURE) is along for the ride as Odenkirk’s father, who gets pulled into the action when the Russian Mobsters decide to go after Hutch’s family and he looks like he is having a ball with this role.
The rest of the cast is pretty by-the-book (though a special shoutout needs to go to 1980’s heavy, Michael Ironside, who has a short role in this film - I would have loved to have seen more of him). The head Russian mobster is a bit over-the-top for my tastes, but the action sequences more than make up for all of this.
Credit for that must be given to Director Ilya Naishuller (HARDCORE HENRY) for he gives this film a unique look in the fight scenes while constantly having his tongue placed firmly in his cheek. I’ve seen ALOT of action films, so when a film brings something unique and fun to the screen, I sit up and notice.
And, notice I did. For NOBODY is a fun, popcorn flick. One that will be entertaining for the 92 minutes you watch.
Just don’t expect to see it during Awards season next year.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)